tag:blogger.com,1999:blog-29942907863053916422024-03-12T23:21:59.168-04:00BEST IN THE MIXA collective of kindred hip-hop spirits that have come together to help preserve the culture. TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.comBlogger542125tag:blogger.com,1999:blog-2994290786305391642.post-3681328230264639182019-02-01T13:53:00.000-05:002019-02-20T08:04:13.322-05:00REVIEW | Black Thought - Streams of Thought Vol. 2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ask and you shall receive. When I posted my <a href="http://www.bestinthemix.net/2018/08/review-black-thought-streams-of-thought.html"><i>Streams of Thought Vol 1 </i>review</a> over the summer, I ended it by saying that I hoped we'd get a volume two soon. The Monday after Thanksgiving, Black Thought blessed us with just that. <i>Streams of Thought Vol 2 </i>continues his assault on the throne as he appears to be on mission to solidify his place on the god emcee tier. After his success with the 9th Wonder assist for the first EP, I was very curious as to who Thought would collab with to follow up his <i>Streams of Thought </i>series. My top producer picks were: Pete Rock, DJ Premier, Large Professor, DJ Jazzy Jeff, and the Alchemist. I think Pete Rock, Preem, and Extra P were "safe" bets. PR and Preem already have tracks with Black Thought. So we know that would have been a home run. Don't think Large Pro linked up with Black Thought, but not 100 on that. But you know it would have been a solid pairing. Jazzy Jeff would have given us that Philly connection. I know they've been on stage together, but don't think they have a studio joint together. Alchemist was the wild card. I was not aware that they had a track together when I started this review. But the ALC single "Roman Candles" has Black Thought on it, among other features. That joint dropped late last year, and that joint BANGS. But no dice. No points awarded to house BITM. Black Thought went ahead and hit my set with the big joker. With Salaam. Fucking. Remi. What a pick! It is one of those picks, that after you hear it you go "of course." So my typical "this works on paper but did it actually work?" review question is null and void. Now the only question is, "will this emcee/producer pairing of Black Thought and Salaam Remi be better than the <i>Vol 1 </i>pairing of Black Thought and 9th Wonder?" What a great moment in Hip Hop. Let's go.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">For the <i>Streams of Thought </i>sequel, Thought almost doubles the track count from five (<i>Vol 1</i>) to nine (<i>Vol 2</i>). The intro, "Fentanyl," really sets the stage for the uninitiated. The Roots, Black Thought, and Salaam Remi fans knew the intro was going to go hard (pause). Maybe not like this though. Remi showed great restraint by providing a very minimal instrumental. The gritty drum and guitar heavy track allowed Black Thought to flow with zero restrictions. In a single verse, Thought drops an intense allegory using the opioid crisis to create an amazing parallel. We've all heard the "my flow is so dope you should smoke me" verse in some way or another. "Fentanyl" takes that idea/verse and turns it into a fully conceptualized theme/track. In an array of poetically graphic bars, Thought presents this drug use through a very unromanticized lens. Toward the end of the verse, after this deglamorized foundation is set, Thought compares his flow to fentanyl. If you are reading this, I know that the reveal isn't really shocking. Again, we've all heard rappers use drugs as a metaphoric link to their flows. But the intellectual approach in this track (and MANY Black Thought tracks), is what elevates Thought to a different level. Great way to start the project.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The following songs like "Soundtrack to Confusion" and "Get Outlined" give us Golden Era-breaks and drum loops that create a smooth transition from track to track. "History Unfolds" is probably the first instrumental that raises the energy a bit. Secondary instruments are less muted and each layer stands out more versus the previous minimal tracks. Black Thought uses historical references to emphasize his skill set and his place in the history of Hip Hop. "How to Hold a Choppa" sonically slows the beat down again, but this time with a jazz influenced beat. Black Thought's class is in session as he dives into incredibly deep and complex anecdotal bars touching on morally partisan perspectives. Back on his braggadocio shit with the next track, "The New Grit," allows Thought to attack the track with reckless abandonment. This is first Remi track on the project that had my face stuck in stank face mode. Or I should say that had my hype meter all the way up. You definitely want your bass on eleven for this one. "Long Liveth" is another percussion heavy track that Thought uses to drop two very different verses. The first verse gives us Thought's growing concern with the current state of Hip Hop, second verse flows into bars that are more autobiographical. The first track with a chorus (in the whole <i>Streams of Thought </i>series, so far) comes in the eighth track, "Streets." Their is no possible way I could do justice to the slew of insane metaphors and impossible flows Thought created for this track. So yeah. Just peep it. You can actually Google/YouTube it now. Come back when you ready.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The final track, "Conception," was actually the first single for the project. It is also the only track to have a music video (since the writing of this review). Along with "Streets," this track follows the typical song formula of verse-chorus-verse ("Conception" and "Street" are the only tracks to do that in the current <i>Streams of Thought </i>series). Salaam Remi channels the essence of an R&B track with a soulful mix of instruments and vocals, along with Reek Ruffin on the hook. I am not sure if this is the debut of Reek Ruffin on this chorus, but it wasn't until I saw the video that I was blown away by who he is. This was a revelation to me, but maybe proper Black Thought fan's knew about this alter ego. Reek Ruffin is Black Thought's singer persona. So on top of being a top tier emcee, dude is also a soulful Marvin Gaye crooner. Go figure. Thought touches on love, relationships, fame, race, and religion in this radio ready single. It doesn't get smoother than this one right here. And the music video tells a beautiful story of a young couple just making it through this world as a team. The love story is juxtaposed with Black Thought in a club-sized room performing "Conception." There is a full circle moment at the end that I won't spoil, but just know this video has legit production value behind it.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I was joking with another Hip Hop fan that you need a PhD to really break down and dissect a Black Thought track/album. After diving into <i>Streams of Thought Vol 2</i>, I gotta say that statement definitely holds true. What makes Black Thought special is that he effortlessly appears to have the ability to create conscious, complex, and meaningful music. Grown music. You're not gonna hear Black Thought in the headphones of boys at the mall with sagging skinny jeans (just..why? how?), or with girls around a car doing whatever the latest #twerkchallange is. One good thing (maybe only good thing) about getting older is getting to that "I don't give a fuck" stage. But there is a difference between having that feeling as an adolescence, and adding perspective and experience to that equation. When you hear young rappers talk about "we keepin' it a buck" or "we out here keepin' it real", you hear that subconscious (or conscious) hint of immaturity. It is only with years of experience (for the most part) that you can channel that feeling into something productive. After a few decades in the game, it is that growth that has allowed Black Thought to evolve into the god emcee we see/hear today. Could he have created the <i>Streams of Thought </i>series in his 20s? 30s? I'm not going to definitively say no, but there is probably a reason we got them joints when he's 46-47. His bars are poignant and precise. And I ain't even get into DEM BEATS yet. Salaam Remi came at this project with the same benefit of wisdom and experience. Remi was able to bring his whole arsenal (or damn near all of it) to the table. We got: boom bap tracks, percussion heavy joints, minimal/muted instrumentals, jazz influenced beats, and that R&B smooth single. Paired with Black Thought's A.1. flow and content, you can't loose. Sequels normally have the stigma of being less than its predecessor. In this case, not the case. 9th Wonder is in my top five (and Remi would probably round the top 10-15). So I went into <i>Streams of Thought Vol 2 </i>with an insanely high bar. And I admit, I was worried when the track list almost doubled. Even though I feel all top tier emcees should be able to drop a ten track project of the highest caliber at the drop of a dime. Final verdict: <i>Vol 2 </i>is better than <i>Vol 1</i>. It might not be fair because, as I mentioned, <i>Streams of Thought Vol 2 </i>has almost double the tracks. And I KNOW that if 9th and Thought dropped a ten track project, it would have been top shelf. But I can only judge what I got. With more tracks, there is also the possibility of having a whack track or two. Again, not the case. The range of beats and content make this bulletproof. Take notes, because if this is how Black Thought attacked 2018 I can't wait to see what's in store for 2019.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">With no hesitation I say cop that <i>Streams of Thought Vol 2 </i>(and <i>Vol 1 </i>while you at it) if you haven't already done so. Start your 2019 with some of the best of 2018. So with a sense of deja vu, I'll say that I hope a "volume 3" is around the corner. Peep the amazing video for "Conception" below.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-67730297438251391342018-12-18T10:50:00.003-05:002018-12-27T06:55:48.781-05:00REVIEW | 9th Wonder Presents: Jamla is the Squad 2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I don't know how you'd prove this, but it feels like the amount of Hip Hip music hitting the masses is at an all time high. Of course there are many variables to this, one being the technology, but it is definitely noticeable. This oversaturation will continue for the simple fact that Hip Hop equals money. So while record labels scramble to build their rosters with superstars like the Drakes, Cardis, or inmate number 6ix9ine, 9th has taken a different approach. Since the first <i>Jamla is the Squad </i>compilation album in 2014, 9th Wonder has gone the Warriors/Spurs route (I guess more Spurs route, or pre-KD Warriors route). Instead of looking for the hot gimmick of the month, he's decided to invest in the long term. 9th has aligned himself with artists who are coachable (is that not a word?), who care about their craft and the culture, and who do not make moves solely for sales. With a relatively young roster, 9th is going against the current trend in Hip Hop. Missing on his record label are the stereotypical radio/strip club joints, the hyper gangster or misogynistic lyrics, and the obligatory mumble features. So with an updated and semi-seasoned roster, how did 9th Wonder do with his sequel, <i>Jamla is the Squad 2</i>, compilation project? Let's go straight in.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">First off, 9th Wonder gets an immediate salute for putting together a twenty two track album. In 2018 this seems like a lost art. Many of today's Hip Hop "influencers" seem to be pushing these new LP/EP hybrid length projects. And I get it. The current iteration of the human race is not capable of focusing on a single thing at length anymore. We are now multitasking creatures who consume information in segments. I'll admit that it takes me longer to finish a review once I start. New music, YouTube, games, and life take chunks of my time while in the review process. Although the research I do is also part of the process that slows me down considerably. But I digress. 9th Wonder is betting on himself. Betting on his process. He'll take a Tim Duncan over a Dwight Howard or Kwame Brown any day. He knows to build from the ground up. Lay down a strong foundation. This foundation is evident in all Jamla projects. None more noticeable than this project. With 9th and the Soul Council on the boards, you would expect a cohesive boom bap and soulful vibe throughout <i>Jamla is the Squad 2</i>. And you would be correct. The intro track "Welcome To JamRoc" has a reggae sample throughout, but is far from a dance hall record. It features Rapsody, three other current Jamla emcees (GQ, Reuben Vincent, and Ian Kelly), and Jamla songstress Heather Victoria. With musical influences from Damien Marley and Aretha Franklin, this song celebrates Jamla Records partnership with Roc Nation.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On top of highlighting the Jamla camp, 9th also taps lyrical vets like: Pharoahe Monch, Busta Rhymes, Black Thought, Big K.R.I.T. (on way to becoming a vet) and David Banner. But I thought there was a J Cole feature? First, the list above is of non-Jamla emcees on tracks dolo (sans Jamla artists). J Cole is on a track with Rapsody. So that's a Jamla track with a Cole feature. By the way, OF COURSE that Rapsody/Cole track is pure dope. There is also a Conway feature on a track with Jericho Jackson (I know Elzhi is not on Jamla, but the group and album were released on Jamla Records). Either all that made sense to you, or it did not. I am assuming a lot of Jamla/Hip Hop knowledge on your part. Just Google it. What you should know is that all these features are FUEGO all day. Monch kills his solo track, "Crazy", with his staple flow-over-anything style. Probably one of my favorite tracks is the aforementioned Jericho Jackson and Conway track "Machine and McQueen". Conway's laid back flow is a perfect match for the Elzhi pairing and Khrysis beat. Busta Rhymes channels his inner Slick Rick for the nostalgic track "Jumpin'". The 1988 influenced track sees Busta bench his signature energetic flow and style for an updated version of Slick Rick's "Mona Lisa". Black Thought has a two for one with his track "Cojiba". With an instrumental switch up a minute into the track, Thought flips his flow while continuing the arch of his subject matter. The soulful southern collab track "Knocking at my Door" features Big K.R.I.T., Jakk Jo, and David Banner. I obviously know about Mississippi titans KRIT and Banner, but I've only heard of Jakk Jo through passing convos. Jakk Jo is New Orleans bred and is the son of No Limit's first lady, Mia-X (crazy I know, felt just as old when I found out). So off the bat Jakk Jo gets a salute for even attempting to spit alongside these lyrical beasts. And to be honest, the legacy emcee definitely hold his own.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">You can't talk about 9th Wonder's roster without mentioning Jamla's first lady, Rapsody. The 9th Wonder protege is easily his most successful and influential artist. So it is no surprise that she is on the first and last tracks with her Jamal peers, as well as on two additional tracks. The lead single, "Sojourner", alongside J Cole is another notch on her belt alongside one of the best in game currently. With two of my favorite "new school" emcees, this track is easily one of the best on the album. The track "REDBLUE" features J Cole's Dreamville emcee J.I.D. J.I.D. has strung together a pair of critically acclaimed albums while under the Dreamville umbrella. This turned out to be a perfect pairing in terms of lyrical styles. You might actually miss that this track has a feature. On my first listen I thought Rapsody was trying something different with her cadence and delivery. That is absolutely a compliment to J.I.D. and I will now have him on my radar.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The rest of the album is full of Jamla emcees and R&B artist Heather Victoria. She actually has two solo songs, "Japan" and "One Love". The latter strips down Nas' "One Love" track into a soulful/jazzy song about self love. HV proclaims her independence and does not need a relationship to define her self worth or happiness. And "Japan" follows the more typical R&B theme of love knowing no bounds. As a fan of R&B, the Heather Victoria tracks were great compliments to the "Hip Hop" compilation album. With 9th Wonder behind the instrumentals, it was easy to expect finely crafted songs.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">So I've actually been working on this review longer than others. Some of that has to do with the amount of product there is (again, very thankful for a proper twenty two track project). But a lot has to do with the holidays and life thangs. All good thankfully. But it has given me the ability to expand my perspective on the review. One thought I had early in the review process was how to explain what "Jamla" is. Compilation albums are milestones. Mission statements. You knew Ruff Ryder's compilation albums would sound like Swizz Beatz beats (ha) and be full of grimey NY bars. You knew a D.I.T.C. compilation album would be lyrically superior with good/ok instrumentals. Jamla is definitely mature enough as a label to have an identity. So recently as I'm pondering on how to describe the Jamla DNA, <i>Dave Chappelle's Block Party </i>comes on the TV. Light bulb. If the artists who performed on <i>Block Party </i>were under a label, it would be Jamla. Well, more like artists who were inspired by that lineup. If you haven't seen the docu-movie, definitely peep that (the soundtrack too). But Jamla is the essence of that to me. Artists who genuinely emphasize lyricism, who are socially conscience, and who are an evolution of the purest ingredients of Hip Hop culture. That being said, I know this album isn't for everybody. Unfortunately, in the current climate I feel the majority of people aren't checking for albums like this. On the flip, the rarity of albums of this caliber make them more special. I've been a fan of 9th Wonder, Rapsody, and the whole Jamla movement for years now. So this project will definitely make it on my playlist rotations for months/years to come.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-76490345449632373222018-11-09T09:37:00.000-05:002018-11-09T11:39:14.850-05:00REVIEW | Dave East and Style's P - Beloved<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Last month we got a surprise team up album from Dave East and Styles P, <i>Beloved</i>. Dave East has been in his Human Torch mode for a while now. Since he signed to Nas' Mass Appeal Records in 2014, he's dropped 6 well received solo projects. This year alone East dropped <i>P2 </i>and <i>Karma 2 </i>(along with this joint album). And then there is Styles mutha fuckin P! The OG recently dropped his NINTH solo album in May, <i>G-Host</i>. I have not had time to peep it in it's entirety yet. Not for lack of interest, it was just a busy summer Hip Hop wise and life wise. But we did review his previous tag team album from last year, <i><a href="http://www.bestinthemix.net/2017/04/review-talib-kweli-and-styles-p-seven.html">The Seven</a> </i>(with Talib Kweli). Apparently he also teamed up last year with Berner, for <i>Vibes</i>. Sorry Berner. Don't know you..so yeah. But whether it's dolo or with the Lox collective, you know you are getting top notch street tracks whenever you get Styles P bars. So on paper the duo of Styles P (the triple OG) and Dave East (the YG, well he is 30..please say 30 is still young) is a no-brainer. So was this dream collab only good in theory, or were they able to bridge the gap (in my Joe Budden podcast voice).</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The intro/title track "Beloved" quickly answers the question, "where did the title for <i>Beloved </i>come from?" A robotic <i>Midnight Marauders</i> type voice starts the track off with: "The meaning of the name David is beloved or friend." This Biblical Hebrew origin immediately links both emcees: Dave East (whose name is David Brewster Jr., also Dave is a nickname for David) and Styles P (whose name is David Styles). Each David uses their bars to introduce themselves to the listener. The first two verses are equally divided, starting with Styles and ending with East. The last verse is a back and forth starting with East and switching off with P every two bars. Both emcees do an amazing job complimenting each others flow. Honestly there are many overlaps in their rap styles. So much so that I believe the synergy created was effortless. Their is an underlying authenticity in what they say and how they say it. But if you break down their bars (like yours truly), you can decipher what makes each emcee unique. Example, in the last verse Styles P raps, "Beloved, I been rugged since the four finger nugget." I won't go too deep into it (pause), but basically Styles is dating himself by saying he's been hustlin since 1980-ish (when McDonald's McNuggets came out). In contrast, Dave East raps, "Beloved, I been thuggin' since Carmelo played for the Nuggets." East is also "dating" himself, but if you follow the clues he is saying he's been hustlin since 2003-ish (when Carmelo Anthony was drafted by the Denver Nuggets). Actually until I read this breakdown out loud I see that these lines mirror each other more than I thought. So major props to them for that.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The final track "Load My Gun" features the remaining Lox members joining the Styles/East collabo. If you a LOX fan you already know what it is. The haunting instrumental provides the perfect foundation for the OGs to paint vivid street portraits. But "the LOX create another street banger" is not gonna be a headline. The trio has had decades of honing their style and chemistry. Dave East was able to hold his own with P, but how would he fare spitting alongside the entire legendary collective? With a resounding "hold my drink", Dave East drops bars that make you believe he is a LOX long lost nephew. Just like that. This track is arguably the hardest track on the album. Which is saying something because this is one of the hardest albums I've heard in a minute. Breaking down a verse won't really do the track justice. Just know this is top shelf. I might even recommend playing this track first (after you finish this review of course). But it makes sense that this track would be the bookend to the project.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If I were to describe the album in one word, it would have to be "hard" (feel like I need another pause here). This project evokes 90's LOX (of course)/CNN/Mobb Deep type vibes. Just good ol' grimey NY bars and beats. This is the type of joint you bang while eating cereal on the stoop in your wife beater, sweats, and flip flops and socks. Styles P and Dave East were able to successfully capture a timeless moment in Hip Hop. Styles comes from the Golden Era of Hip Hop (and the crack era). East is a branch from that tree. And both emcees are able to seamlessly bridge generational gaps. Like I said in the intro paragraph, this should work on paper (and it clearly did). The main reason being that even though there is thirteen years between the emcees, the underlining characteristic between them is authenticity. Keeping it real is timeless. Well, authentic "keeping it real"-ness. Because we know not everyone who says they keep it real is actually living that life. And of course there is the NY connection. Both emcees are products of the same environment, just from a different decade. The more I listen to the album, the more I appreciate the fine line the emcees balanced. There is a nostalgic vibe you get from the album, but it is definitely a contemporary project. The evolution of Styles P's street lyrical style is merged with Dave East establishing himself as the new generation of street lyrical emcees. If you are looking for radio hits or back pack raps, keep it moving. <i>Beloved </i>is strictly for those who live or appreciate that street life. If that's you, def pick this up ASAP if you haven't done so already.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep <i>Beloved </i>album, video for "We Got Everything", and Funk Flex freestyles below.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-17970285804532903532018-08-07T08:26:00.002-04:002018-08-07T08:54:08.257-04:00REVIEW | Black Thought - Streams of Thought Vol. 1<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">With the blitz of dope albums hitting us this year, it was easy for a few projects to fall through the cracks. Especially an EP with damn near zero marketing. The Root's front man, Black Thought, decided that this was the year we'd finally get that solo studio project (not counting the J. Period <i>The Live Mixtape </i>series). <i>Streams of Thought Vol. 1 </i>is a five track EP entirely produced by 9th Wonder and The Soul Council. We've actually been teased with a solo (or non-Root collab joint) album from Black Thought since 2001. I feel most Hip Hip heads were content with getting Roots projects (since Thought is basically the groups only emcee) and Black Thought features throughout the years. But DEM BLACK THOUGHT FANS, man they've been fiending for that dolo joint heavy. <i>Streams of Thought Vol. 1 </i>gives us a glimpse at what a full LP might sound like. Since it's just five tracks, I won't go all Sherlock Holmes on a few tracks like I normally do. I'll hit all tracks, just less in depth.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The intro track "Twofifteen" is a play off of Thought's area code (Philly area codes are 215 and 267). You get a few expected bars about Thought's specific upbringing in Philly, but he quickly dives into more macro themes. With no breaks, Black Thought masterfully touches on a slew of topics. One of my favorite bars is "My homey Gonzalez, only know gun violence", referencing the gun control activist/advocate Emma Gonzalez (from the Stoneman Douglas High School shooting in Parkland, Florida). The next track "9th vs. Thought" is a two verse assault that is broken up by a Black Thought interlude (not a hook). The first interlude states, "It takes two to make anthropology. The student and the studied. That being the case, it is time for the studied to examine the student and to evaluate its own self." Thought effortlessly hits you with a barrage of braggadocio bars that keep you permanently in stank face mode. Honestly this might be one of my favorite Black Thought tracks. Ever. If you don't hear nothing else, hear this one. The track "Dostoyevsky" is a reference to Russian author and philosopher Fyodor Mikhaylovich Dostoyevsky. Black Thought said he got the idea for this track from his interview with the New York Times. During the interview Black Thought was told, "You’re like the hip-hop Dostoevsky." Since then, he's had the seed for this track on deck. It took a 9th beat and a Rapsody feature to bring this intellectual track to life. Another boom bap classic track. It goes without saying that Thought and Rap KILLT that joint.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The single "Making a Murderer" actually dropped two years ago. It dropped in April, four months after the Netflix documentary series of the same name. The longest track from the bunch, clocking in at 4:33, it definitely gives Black Thought and Styles P more than enough lane to kill the track </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(pun intended)</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. Full of wild metaphors and crazy visuals, this is exactly the track you'd expect from these two lyrical titans. The aptly named final track "Thank You" is the perfect bookend to this mini Black Thought/9th Wonder experiment. As you correctly assumed, this a "thank you" track to his supporters, fans, and peers/mentors that showed him love and support throughout his career. The track is also the only one produced by Khrysis (member of 9th Wonder's The Soul Council). It is also the only "soulful" beat among the grimey and boom bap sounds from the rest of the EP (it is also the only track with a chorus, featuring Mississippi songstress Kirby). Being how Khrysis comes from the "school of 9th", it is no surprise that this track provides a seamless and cohesive end to this album.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Point blank period, <i>Streams of Thought Vol 1 </i>is perfection. I can't think of a single thing I would change or edit. The beats are top shelf. Black Thought came correct with masterful displays of lyrics, flow and substance. Every bar is a grown man bar. No question. The features were just right (in amount and emcee selection). Y'all know I'm Rapsody biased. But her verse was one that I would put in her top 10 easily. And P! This two year old track just gets better with time. During this review I was able to uncover WAY more metaphors, double entendres, and themes I missed before. Even though I didn't OD with what I put into this review, my process was still the same. With lyrics, interviews, sample tracks, and Wiki all up on my screen like I'm Batman looking for the Joker. Black Thought is a conscious emcee with the ability to switch to grimey at the drop of a dime. This EP is not a "new Black Thought", rather the same socially/politically aware, flow switching, lyrical monster we've known all these years. But there is a slight change in his perspective. As a young intellectual emcee, Thought was able to use his experiences to predict where his journey would take him. His growth as an emcee and man now further solidify (or change) his beliefs as a younger man. You hear different pockets of flow in his delivery. Content-wise Thought is relevant while at the same time addressing issues he's highlighted since way back when. Nothing about this project feels stale. Another mark of genius is that he did it with the tried and true boom bap sound and straight BARS. AND NO HOOKS. Peep the whole thing again. No hooks to be found. Just raw lyrics all up and down the tracks. If we assume that every decision was deliberate, we can also assume (hope) that the "Vol 1" in <i>Streams of Thought Vol 1 </i>was as well. I have not heard anything about a "Vol 2" or how many volumes Thought plans to have. But we can all hope that the answer is "soon" and "many". I would actually like to see Black Thought do a "Vol 2" with another producer handling another 5-7 track EP (7 is still an EP right?). Matter of fact, it's really a win-win. I KNOW Thought and 9th have a couple more EPs on the studio floor, so a "Vol 2" with 9th would also be happily received. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep the full EP below. And peep that Black Thought freestyle on Flex (Hot 97)..just because. </span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-11957026701435586632018-07-23T18:07:00.000-04:002018-07-23T18:18:01.316-04:00REVIEW | Royce da 5'9" - Book of Ryan<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Royce's career is one that many emcees would kill for: a solid catalog of LPs/EPs/mixtapes that spans (almost) two decades, one fourth of the lyrical Voltron group Slaughterhouse (unfortunately the now extinct group), half of a rap duo with Eminem (Bad Meets Evil), and half of the emcee/producer team with the legendary DJ Premier (PRhyme). If you are one of those people that has Nickel Nine in your top ten, I can't front. I ain't mad at that. Royce not only has a slew of classic bars and tracks in his arsenal, but dude got a few projects that certain circles will stamp with that "classic" tag as well. His second album, <i>Death Is Certain</i>, comes to mind (I might throw in <i>Layers </i>as a possible). As well as his mixtape series <i>The Bar Exam </i>(with the likes of Statik Selektah, DJ Premier, DJ Green Lantern, and DJ Whoo Kid at the helm). So how did Royce da 5'9" do on his seventh solo album? Let's find out.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Let's start with his first single, "Boblo Boat", featuring J Cole. The beat is sampled from Michał Urbaniak's "A Day in Park". Urszula Dudsiak's vocals can be heard throughout the track, mainly taken from her first verse. Her words play like a grocery list of words associated with an amusement park. The track actually starts off with an excerpt from a documentary about Bob-Lo Island. The narrator, Mort Crim, introduces the Canadian amusement park that existed from 1898 to 1993. Royce remembers taking the "Bob-Lo Boats" (S.S. Columbia and the S.S. Ster. Clair) from Detroit, Michigan to Ontario, Canada. Nickel uses this backdrop to paint fond memories at the park and foreshadows events that influenced his upbringing. Moments of happiness are broken by the threat of addiction that ran through his family. His metaphors juxtapose food courts with the aroma of weed, and swimming pools surrounded by broken glass. J Cole takes the baton seamlessly as he gives his tale from his North Carolina upbringing. Cole didn't have trips to Bob-Lo Island, but he vividly recalls his teenage years. Everyone was just worried about being "cool". For Cole and his friends it meant smoking, drinking, and losing your virginity. In these simpler times Cole was most happy joy riding in his mother's Honda Civic with his crew. Times have changed, but Cole assures the listeners that he still hasn't peeked as an emcee. As first singles go, you don't get better than this.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Cocaine" was a track that stood out from the first listen. It actually comes after a skit. It's a little deep, but the skit ends with Royce's son asking for help with his school paper about "a figure in [his] life that [he] finds inspiring, that [he] looks up to". His son chose to write the paper about his father, Royce. The title for the paper would be "The Book of Ryan". SO DOPE. His son's first question is, "who are you?" Then we enter "Cocaine". Royce skillfully answers his son with a specific anecdote about Royce's father and the first time he found out about his drug use. Royce's battle with addiction is well documented, and this entire album pulls the curtain back on never before seen (or heard) personal stories. A recurring question is: if Royce's father didn't battle addiction, would Royce (and his bother) not have to deal with their own addictions? Royce knows that he lost a lot of time with his family while he was battling addiction. "Cocaine" is meant to explain to his son that addiction runs heavy in their family. By understanding his grandfather's struggle, his son is able to better understand the struggle Royce went through. In the end, both men beat their addictions by using their families as their motivation and strength. This is a beautiful track that also just sounds dope.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">We've heard about the concept for the <i>Book of Ryan </i>since 2016. But it wasn't until March (this year), around the release of <i><a href="http://www.bestinthemix.net/2018/07/review-prhyme-prhyme-2.html">PRhyme 2</a>, </i>that we got a tracklist and cover art for the <i>Book of Ryan</i>. Royce basically pulled a Josh Brolin. Brolin played Thanos in <i>Avengers: Infinity War AND </i>Cable in <i>Deadpool 2</i>. Dude had two blockbusters a month (not even) apart from one another. <i><a href="http://www.bestinthemix.net/2018/07/review-prhyme-prhyme-2.html">PRhyme 2</a> </i>dropped on March 16th, and month and some change later Royce was hitting us up with his seventh solo LP. In Hip Hop head circles, both of these albums definitely garnered a lot of buzz. Any solo album is always a risk. Since it is just you. Good or bad, it's all on you. That risk multiplies when you start getting up there in the tracklist. The <i>Book of Ryan </i>clocks in at 21 tracks (well, 19 if you discount the two skit tracks). We are finally enough removed from "Kanye season" that a 21 track album is a breath of fresh air. That's a drive home from work or a session at the gym. No skips. No repeats. But an hour (almost) listening to a "very personal" project? That's though, but here is the genius. So you got the theme, but you can't "Slippin'" or "Cleanin' Out My Closet" us to death for 21 tracks. Nickel hits you with a stick and move. He distributes where he chooses to go into detail about specific subjects and where he can provide broader perspectives that are relatable to more listeners. And of course there are parts where he can just flex his lyrical muscles for the sake of flexing. Oh, and THE BEATS. As an executive producer (along with Mr. Porter and S1), Royce is able to craft an entire album by hand picking the perfect instrumentals for each section of the album. The range that Nickel is successfully able to hit is crazy. And to make it all cohesive is even more amazing. Songs like "Summer on Lock" shouldn't work in this particular album. But it does. The T-Pain (T-Pain!) assisted "First of the Month" track also stand out as a surprisingly successful addition. Royce adds harmony to his already impressive lyrical repertoire. Not just on the "lighter" songs, but on deep joints like "Anything/Everything". Royce is able to balance an interpersonal album by adding current and relevant subject matter that all can relate to. The <i>Book of Ryan </i>is just that. An autobiographical book on tape. To say this is an introspective album would be an understatement. If you listen to this album for a week straight (or weeks, as I have), you'll have a different favorite track every single day. This project is authentic, vulnerable, and raw. Real rap. I got nothing else. If you a Nickel fan, you better have this in rotation. If you a Hip Hop head, ditto.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep video for "Boblo Boat" and the track they sampled, "A Day In The Park", below. AND peep the whole album too! And after you do that, stop being cheap and support <i>Book of Ryan </i>for real. Can't complain there ain't no real rap when you don't support real rap. Truth.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-87231131297407685062018-07-18T01:14:00.001-04:002018-07-18T10:23:05.675-04:00REVIEW | PRhyme - PRhyme 2<div class="separator" style="clear: both; text-align: center;">
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Man, talk about determination! Who the fuck does this Royce guy think he is dropping two albums in the same year like this? The only other name that immediately comes to mind is the dog himself, DMX, who hit us over the head with <i>It's Dark and Hell is Hot</i> in May of '98, then again with <i>Flesh of my Flesh, Blood of my Blood</i> in December of that same year. The thing is, X was generous enough to let the first album breathe a little bit before jumping onto the next one. Royce da 5'9", on the other hand, gave zero fucks about flooding the market with heat in the span of just two months. In March of 2018, he and Preemo kicked things off first with <i>PRhyme 2</i>, the sequel to 2014's universally acclaimed debut project from the super group.</div>
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I assume that Royce and DJ Premier were aware of how high the bar was set with <i><a href="http://www.bestinthemix.net/2014/12/review-prhyme-prhyme.html">PRhyme</a></i>, so what would their approach be this time around? Well, without beating around the bush, it's a mixed bag of ideas that sound really good at times, but never quite gel together in any way. An example of this is a song like "Everyday Struggle." You can tell Royce was clearly aiming to bridge the gap between old heads and modern rappers on the track, but the problem is that it completely contradicts "Era," one of the earlier tracks on the album that preaches how Royce feels like he's wasting his time making music in the wrong generation. So what are we really talking about here, bruh? There are also a couple of questionable features and hooks on <i>PRhyme 2</i> that make you wonder if Royce just ran out of top-tier rapper friends to collaborate with after the stellar feature list from the first album. I'm sorry, but Royce has absolutely no business making music with 2 Chainz for ANY reason. Not only that, but Chainz's contribution is BY FAR the worst verse I've heard from him since his emancipation from Disturbing tha Peace. This is a problem. Shit like this tarnishes the PRhyme brand in my opinion. When DJ Premier attaches his name to something, there's a certain level of quality control expected, and there just wasn't enough of it on this album. </div>
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While <i>PRhyme 2</i> is certainly a far more thematic project than its predecessor, you rarely ever feel that signature Preemo thunder for more than a couple of tracks successively. For the most part, it's an album where style takes a backseat to substance. This isn't necessarily a bad thing, but with Premier at the helm it's natural to expect his style to be prominent throughout. Even though he technically had a hand in producing every song, it's evident that Premier leaned a little too hard on AntMan Wonder for production this time around, as a good chunk of this album sounds nothing like what you'd expect from Preem. Still, Royce's artistry makes it work by making sure nearly every track sticks to a given theme without falling into a pool of shallow-yet-lyrical rappity raps for too long. </div>
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"Black History" ferociously kicks off the album with one half sending you on a journey through Royce's troubled life from birth, while the other half gives you a quick rundown of Premier's career leading up to the inception of Gang Starr, Jeru the Damaja's debut album, and Group Home to name a few. It's a powerful yet succinct trip down memory lane designed to either educate youngins that ain't ran their Googles yet, or jog the memories of older rap heads who grew up witnessing DJ Premier shape the entire culture of hip-hop on the east coast. That same energy is maintained into the next song, "1 of the Hardest," which truly lives up to its name as Nickel Nine is on his typical braggadocios shit with an onslaught of nothing but BARS. The real meat of the album is found right in the middle though, with a mostly consistent streak of standout bangers such as "Streets at Night," "Rock It," and "My Calling" taking center stage. Sadly though, that streak comes to an end with "Made Man" which is a song that speaks on how despite what anyone thinks about his career, Royce da 5'9" feels like he has been successful and deserves to be respected. It may end up not being very memorable, but based on the subject matter alone this would have been a good track to end the album on, as the remaining five songs do nothing but weaken the project. </div>
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Overall, <i>PRhyme 2</i> is certainly an adequate follow-up to the original, but you're gonna find yourself doing a lot of skipping around as it pales in comparison to the consistently raw and aggressive underground vibe of the first album. It almost makes you wonder if the original <i>PRhyme</i> should have just been left alone as a modern day classic. Songs like "Rock It," "Streets at Night," and "1 of the Hardest" most definitely fit the premise of PRhyme as a collective. The major issue is that with so many missteps like "Gotta Love It," and "W.O.W.," as well as tracks whose themes were better than the songs themselves like "Loved Ones," "Flirt," "Everyday Struggle," and even the lead single "Era," it's as if Preem and Royce just dumped a bunch of random shit on us and called it a PRhyme project without it having any notable identity. Sometimes less is more, and that is certainly the case with <i>PRhyme 2</i> vs. <i>PRhyme</i>. I feel like if half of these songs were left on the cutting room floor, <i>PRhyme 2</i> might be able to compete with its predecessor on a more equal playing field. It holds up on well enough on its own, but if their goal was to establish some sort of reputation moving forward with PRhyme, this album did little to strengthen the brand.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-23835144330519271882018-07-03T09:06:00.001-04:002018-07-06T07:15:40.897-04:00REVIEW | Nas - NASIR<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SIX YEARS. It's been six years since Nasir Jones dropped a new project. Y'all remember that DJ Khaled single, "Nas Album Done" (they even made a music video for it!)? That was two years ago. And about this same time last year we got the hashtag #NasAlbumAlmostDone on Instagram from Nas' brother Jungle. Then crickets. So for the better part of two years Nas fans have been fiending for a new full length album. And after all that, somehow, Nas got pulled into the gravitational pull of the Kanye West/GOOD Music "Wyoming Sessions". So off the bat we know <i>NASIR</i> was getting seven tracks. I've been vocal about my aversion to this new accepted length for an LP (his daddy called it an EP, I'm gonna call it an EP). But <i>Illmatic</i> was technically nine tracks (I know it's ten tracks but the intro track is more of a skit). Plus we all know what both artists are capable of (and we saw what Kanye did with Pusha T), so I'm still going into this "LP" pretty excited. Let's go.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The intro track "Not For Radio" features Puff Daddy in another "Hate Me Now" (from the <i>I Am </i>album) role. Puff starts the latter track by saying "Escobar season has returned". On the new track, Nas starts off with "Escobar season begins". Early in his career, one of Nas' monikers was "Nas Escobar". This was of course a reference to Pablo Escobar, the Colombian drug kingpin. With almost a decade between these two songs, Nas kicks off the album by letting you know he is still the same lyrical monster he was in his younger days. Kanye lays down a choir-like melody that almost feels like a movie score. Nas attacks the track with all the tools in his repertoire: a smooth flow and cadence, complex subject matter, conscious metaphors, and gritty bars. Nas hits you with powerful lyrics about: Egyptian gods, black pride, divinity, fashion (Goyard, Google it), Cooley high, the presidential election, politics, slavery, longevity, fake friends, divinity, Catholics, Moors, Freemasons, Black Panthers, SWAT, Willie Lynch, crack/Pablo Escobar, American history, fear, and a rack of other themes I'm sure I missed. Nas has been consistent when it comes to ill intro tracks. This is no different. There is a theory (based on Kanye tweeting the definition of the seven deadly sins four days before <i>NASIR </i>dropped), that each Nas track is meant to correlate to a deadly sin. "Not For Radio" would correspond to pride since it is very "pro-black/proud". Even though Nas ends the track acknowledging the downfalls of being "too proud".</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Simple Things" is a very clever track on a more chilled and soulful beat. There is a hint of melody in his cadence that compliments this last track. This song is Nas looking back at his career and life. The spiritual emcee elevates his bars to make sure his place among the greats is undisputed. Nas recognizes his greatest flaw (according to critics) is his production selection. But he takes pride in not sounding like the "top 40". Nas will never follow a fad or passing trend. He will not dumb down his lyrics and subject matter to appease the radio overlords. He states that his lyrics are studied (and taught) by college professors. Like the course “Poetry in America for Teachers: The City from Whitman to Hip Hop" (whose track syllabus includes "It Ain't Hard To Tell") at Harvard. Yeah, that Harvard. The newer generation might not like Nas, or think he is boring. But Nas could care less. His catalog has sold over 25 million units, so "somebody agrees with the music". Nas also references his relationships with the most beautiful women in the world. Most of whom he has kept private. Even though he has enjoyed a luxurious life, he still loves getting in a "spaceship" with his brother and going back to Queensbridge to hang out with his people. And again, if we follow the seven deadly sins theory, we can correspond "Simple Things" to the sin of envy. Nas is aware of the envious (jealous) people who look at him with hate and resentment. From his relationships to his career, Nas knows critics and haters feed off of his downfall. But through all of this, Nas breaks down the essence of the song with his final bar: "I just want my kids to have the same peace I'm blessed with". Nas' daughter, Destiny (little Des got your eyes) started her own lipstick line/brand(?). His youngest son will also have the resources to make a name for himself if he so chooses. Nas wants his kids to enjoy the simple things in life, peace. The way to defeat envy is by finding inner peace and not letting outside influences run your life. Nas has found a peace through all the trials and tribulations (public and private), and all he wants is his kids to find their peace as well.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If you're a Nas fan and a Kanye fan, this mini LP will be everything you expected. But I will get through what I wasn't feeling first. First all the Kanye stuff. Production wise, I can't front. While this album definitely sounds like a "Kanye album", it works for Nas (for the most part). For me though, I think I'm good with the Nas/Kanye whole album thing. Meaning, no más. Gracias. IF Nas is going to do another one producer project, it should ONLY be with DJ Premier. Honestly I would have liked to hear whatever album he had cooking up a few years ago before Kanye took the reigns. And if I'm comparing this with <i>DAYTONA</i>, I think overall the production worked better for Pusha T than Nas. I don't think Nas was as involved as Push was with Kanye in that department. At least it doesn't sound like he was to me. And then there is the "Kanye" thing. I REALLY wanted to separate Kanye the producer with Kanye the person. But while Nas is dropping these socially conscious gems, all I can think of is all the ignorant and wild shit Kanye's been saying. So there you go. I didn't want this to happen. But it did. And the more we get away from his last TMZ rant (which he recently recanted), the more everyone seems to be cool with Kanye again. My brain just isn't wired like that. *END RANT* Now onto the Nas portion of the review. Overall I would have liked more consistency in quality and quantity. There were moments of GREATNESS. No surprise there. And I am not talking about the whole seven track nonsense. For example, "Everything" is probably one of my favorite tracks. It is the longest track, clocking in at 7:33. But Nas' verses go for just over 2:30. This joint has The-Dream AND Kanye giving us two overlapping (why?) choruses. The song "Bonjour" is a grown man "Change Clothes"-type track. I actually like this track too, but this is definitely an example of those "Kanye featuring Nas" complaints I've seen floating around. Lyrically there are few missteps from the mature poet. For the most part we get politically and socially conscious themes that we expect from one of Hip Hop's elder statesman. Songs like "Adam and Eve" make you yearn for more. Nas and Kanye both compliment each others musical genius perfectly here. Almost effortlessly, Nas uses his experiences to school young and old heads. Sprinkled with braggadocio bars, Nas makes sure that he connects with this swing. From a Nas fan, this is a really good album. But I think I might be caught in that "what if" moment. What if we had 12-15 tracks (like we are accustomed to getting from Nas)? What if Large Professor produced a track? Preem? My expectations for this album were different I guess. But don't get it twisted. This album is better than 90% of what is out now. I'd normally say 99%, but man, we've had some DOPE SHIT this year. But if I compare this to the rest of his catalog, it would be on the lower half. But a lot of the style points I deducted were because of Kanye. This whole "seven is a magic number" thing ain't working for me. And a couple of arrangements seemed off. And the biggest "what if" is, what if we got that pre/non-Kanye album? I don't know. But this joint still gonna be in my rotation for the foreseeable future. I got the vinyl coming, so you know this will still go on my top albums of 2018 so far. If anything, this album gives me hope for the next chapter in Nas' career. With all the business ventures he's been making lately, you feel something really special is on the horizon.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep the <i>NASIR </i>album listening party and that DJ Khaled "Nas Album Done" video below.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-53148557427171099642018-06-22T19:48:00.000-04:002018-06-25T08:48:29.638-04:00Facebook Jail | B-Sides Podcast<div class="separator" style="clear: both; text-align: center;">
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Serious question...and don't lie...<br />
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Have you known ANYONE who ever landed in Facebook Jail before? Or better yet, how many of y'all have even HEARD of it? If you haven't, this might be the craziest rant you'll hear in 2018. Listen as The Niftian goes on a five minute rant about what landed him in Facebook Jail over and over again. Was Facebook buggin for putting our dude in time out over some small shit? Or are we blind to the underlying irony behind the most mentally enslaving form of media sending you to 'jail,' whilst simultaneously 'freeing' you? Which ever side of the fence you're on about Facebook Jail, just know that none of this shit matters to stayfly. Listen to find out why.<br />
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-12987744867858526052018-06-14T22:33:00.000-04:002018-06-14T22:33:17.102-04:00The End of Mo'Nique | B-Sides Podcast<div class="separator" style="clear: both; text-align: center;">
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After the podcast, the fellas decide to delve into the recent (old as fuck) news about Mo'Nique not being offered her supposed 'just due' with Netflix. We discuss her achievements as well as her pitfalls and why she may never experience another ounce of success in this business. Listen as the three of us rip into Mo's entire career in less than 20 minutes. </div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-31268854092566606902018-06-12T12:43:00.001-04:002018-06-13T12:18:20.486-04:00REVIEW | Pusha T - Daytona<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">King Push. We've been waiting for Pusha T's third solo studio album since his 2015 LP, <i>King Push – Darkest Before Dawn: The Prelude</i>. Most knew what to expect on <i>Daytona</i> given the VA emcee's pedigree and GOOD Music affiliation: DOPE features, Kanye beats, and ALL THAT cocaina flow. After a gang of push back dates, we finally got the release date on April 19th. And apparently the album wasn't "finished" until the 23rd of May, two days before the Friday 25th release. If you knew all that, cool. If not, now you know. But honestly all the behind the curtain moves don't mean a thing if you don't produce. So how did King Pu..<i>Daytona</i> do? Let's get into it.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Since this joint is only 7 tracks long I'm gonna do the review like this: review my two favorite tracks. The "Santeria" instrumental is probably my favorite. But the second I heard it, I had a moment of déjà vu. After some OCD investigating I was able to crack the case. "Santeria" samples Soul Mann & the Brothers' "Bumpy's Lament", from the <i>SHAFT </i>album. Lil' Kim sampled the same instrumental on her <i>Hard Core </i>track, "Drugs". The Clipse used that Lil' Kim instrumental for the track "Ultimate Flow", on their mixtape <i>We Got It 4 Cheap, Vol. 2</i>. Boom. Case cracked (ha, that's just a taste of what my brain be like when I get lost in Hip Hop). "Santeria" is a very vulnerable and introspective track from Push. At the core, it is Push talking to his slain road manager De'Von “Day Day” Pickett. De'Von was the one who made sure everything ran like clockwork on tours. Push also says that he is the one that made sure all tour members said a prayer before each show. All lose of life is tragic, but when someone is taken before their time it leaves a stronger imprint on those who are still present. This track gives us vivid bars that paint images of anger, vengeance, pain, and sadness. The word Santeria literally means "worship of saints". This Afro-Cuban religion was born out of the slave trade era. Parts of this religion believe in communicating with ancestors/deities through trance, animal sacrifice, and sacred drumming/dance. With this song, Pusha T is communicating with another "saint" of his. You throw in a choir-type "hook" (more of a refrain) in Spanish, and you got one of Pusha T's best songs. Ever.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Infrared", the final track on the minimal album is chock full of metaphors and double entendres. But I know y'all just want me to talk about that Pusha T/Drake beef. Here's the breakdown. In 2006, The Clipse released <i>Hell Hath No Fury </i>and the track "Mr. Me Too". The duo claimed it wasn't aimed at anyone specific, but Lil Wayne felt otherwise. Inception. In 2012 Push dropped the single "Exodus 23:1". This was his "I don't kill soloists, only kill squads" track that went IN on the whole YMCMB camp. This time openly directed at Wayne, but this time at Drake as well. Wayne hit back hard with..some tweets. But after that, Wayne responded directly with "Goulish". I know I'm biased, but that joint was meh. Drake jumped in the beef with a few subliminals on "Tuscan Leather" (off of 2013's <i>Nothing Was The Same</i>). In 2016 Push replied with a few bars on the "H.G.T.V." track. Later that year Drake came direct at Push (and Kid Cudi) with "Two Birds, One Stone". Enter <i>Daytona</i>, and "Infrared". Push said this was his direct reply to "Two Birds". Push went at Drake addressing the fact that he uses a ghostwriter, Wayne's record deal, and Baby/Birdman stealing money from his YMCMB artists. Drake replied with "Duppy Freestyle". I ain't gonna lie, I was impressed. This was a Pusha T/Kanye diss (but mostly Kanye?) that went at Pusha T's credibility as an ex-drug dealer, that brought up Pusha T's fiance (in my Jay-Z "Takeover" voice: NO!) and that Drake feels Push is washed up and can only sell more records if Drake's name is attached to it (and of course a bunch of Kanye stuff). Push came back with Jay-Z's "The Story of O.J." instrumental in the form of "The Story of Adidon". Push GOES HARD (pause?) addressing Drake's alleged child with a porn star, Drake's mother and father, his upcoming Adidas deal (which was going to be named "Adidon", after his son Adonis), his producer Noah “40” Shebiband's MS, and Birdman again. Drake apparently has another diss track ready that would "end Kanye", but OG mogul J Prince stepped in to make sure this was as far as this beef went. Not gonna lie, I was definitely one of the people that wanted this to keep going on wax. I could list an impressive number of beefs that "went too far" lyrically to make my case, but as of today this seems like the end of this installment of Drake v Push.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Since May 25th (<i>Daytona</i>'s release), the GOOD Music collective has had a hand in FIVE albums dropping every Friday. Push was the front runner, followed by Kanye's 8th solo album, a Kanye/Kid Cudi album, Nas' 12th solo album (if you count <i>The Lost Tapes</i>), and Teyana Taylor's second LP <i>KTSE</i>. Since Kanye is taking the lead on all production, it was his decision to make all the albums 7 tracks long. I heard an eight track (Psycho?) was cut last minute. Personally, I think Push has great success with 10-12 track albums (both his solo albums were that). So I would have preferred to have a few more tracks on the <i>Daytona </i>album. That being said, IF you are going to gives a petit four (Google it) it better be flawless. Overall this is top shelf Push. And while I still believe this "new Kanye" is who he is now, I have to give him a tip of the hat for production. Just the production. You can tell when there is a truly collaborative effort on a project. And this is one of them. I've literally had the album on repeat three times in a row and you can't feel a break in the flow of the album. Push is who he is. VA been known, but its up to the rest of Hip Hop to see where they will rank him among the kingpin spitters. Y'all already know where he at with us. VA stand ALL THE WAY up.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep the "Ultimate Flow" track, "Exodus 23:1" video, and "The Story of Adidon" track below. Couldn't find that free YouTube joint this time. Matter of fact, go support it for real. Joint was like less than $10.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-10236593276146767882018-06-07T22:40:00.005-04:002018-06-11T11:09:36.571-04:00BITM Podcast Episode 5 | La Di Da Di Da<div class="separator" style="clear: both; text-align: center;">
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FULL EPISODE. The BITM Trinity chops it up about several recent albums as well as discussing the race to the bottom with gimmicks plaguing the music industry. Finally, we analyze the apparent shift in talk radio, and the desperate measures some stations have been taking to remain relevant.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-46312541873302477692018-05-31T01:42:00.000-04:002018-05-31T15:35:29.225-04:00The Bisquick Bandit | BITM Podcast<div class="separator" style="clear: both; text-align: center;">
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In this segment, The Niftian, stayfly, and TwonJonson discuss the shift that's happening within urban media from talk shows on the radio to podcasts. More specifically, we dive into the short-lived beef between relative newcomers Desus & Mero and DJ Envy, and discuss how important it is for a show to be self-contained these days. </div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-64795753060666302162018-05-23T23:46:00.000-04:002018-05-23T23:46:52.301-04:00Flops & Gimmicks | BITM Podcast<div class="separator" style="clear: both; text-align: center;">
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Listen as TwonJonson, stayfly, and the DIEGONITE himself, TheNiftian attempt to make sense of the existence of Tekashi 69 while analyzing the tactics it takes to make a dent in the industry in 2018. TheNiftian and stayfly lead the way with their topics in this clip.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-60900784959252374242018-05-16T22:54:00.000-04:002018-05-16T22:54:52.897-04:00Black Panther | BITM Podcast<div class="separator" style="clear: both; text-align: center;">
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In this clip, stayfly and Twonjonson debrief from their interview with professional producer and engineer AL-Tee Williams before jumping into discussing several albums of 2018 from artists including Logic, Jericho Jackson, PRhyme 2, and Skyzoo. We also spend most of the topic choppin it up over both the Black Panther movie and soundtrack.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-17538579403404266002018-05-09T22:12:00.000-04:002018-05-09T22:25:45.712-04:00AL-Tee Williams | B-Sides Podcast<div class="separator" style="clear: both; text-align: center;">
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I'd like to introduce the newest addition to the BITM Brand, the B-Sides Podcast. The range of content you have to look forward to will be anything from interviews with guests to me and my boys just shootin the shit across a myriad of topics. Our first episode is with the CEO of <i>The OPP Group INC</i>, AL-Tee Williams. He is an engineer / producer / musician from Atlanta with over 30 years of experience in the game and takes us on a journey through his career as well as offers advice for up and coming engineers who are serious about getting into the business.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-56681386963957912732018-04-13T13:26:00.000-04:002018-04-13T13:29:08.210-04:00VIDEO: Jay Royale - The Iron ft B.E.N.N.Y. The Butcher<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">We got another raw Hip Hop joint for y'all. And to no ones surprise, this one comes from Maryland. Jay Royale has been FLOODING the streets lately with street singles and killing every feature he gets his hands on. We got the video for "The Iron" straight from the source. This joint is the first single off of Jay's upcoming project, <i>The Ivory Stoop</i>, dropping late May/early June. Finally getting around to it, so let's go.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Ray Sosa produced single is a callback to that grimey NY/mid-90s era sound. The ominous drums and piano instrumental evoke those Mobb Deep/CNN/Wu Tang classics tracks (joints like Mobb's "Street Life" come to mind). I thought that cuts from DJ Grazzhoppa were an ILL Conscious staple, but now I see that Jay got this secret ingredient in his repertoire too. Once again DJ Grazzhoppa caps another track off with dope scratches. His cuts contain Nas bars from the single "Triple Threat" (if you ain't peep that, do that soon) and sounds like a bar from M.O.P. or Scarface (not really sure either way, holla if you know though). Jay Royale hits you right off the bat with his authentically vivid street bars. His flow on this style of beat is perfection. Handling the second verse duties is Buffalo vet, B.E.N.N.Y. The Butcher. The lyrical chemistry these two spitters have is front and center. When Jay Royale pairs with ILL Conscious, we know there's a bond there that allows them to create classic tracks. But both MD emcees are HEAVILY influenced by the Golden Era. Specifically from the NY area. So the fact that pairing Jay and Benny gives you a track like this shouldn't be that surprising. The transition from Jay to Benny is a smooth baton transfer. The personal touches each emcee puts in their verses allows the track to be cohesive yet individual. It is sort of a an oxymoron. Both men are clearly products of their respective experiences, but there are also overlapping themes that tie them together. I guess you could just chalk that up to both being "East Coast" emcees.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The decisions made with the music video further compliments the overall final product. The black and white video has a grainy quality to it. The sort of look you get from those those vintage 35 mm films (not a film expert but I think that's right, or some other number variation): rounded edges, ratio dimensions that are closer to a square, and with grainy and solar flare "imperfections". Of course all of this is done intentionally. The visual technique gives the video that old documentary feel. Combining that with lyrics about street life solidify the overall vibe of the track. You get an idea of what Jay Royale is capable of with a polished track like this. If this track speaks to your soul, than stay tuned as we see what else Jay got prepared for the rest of <i>The Ivory Stoop</i>.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-62122376922052200252018-04-06T16:46:00.002-04:002018-04-06T16:53:56.432-04:00REVIEW: ILL Conscious - The Prerequisite<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If you are new to the blog, you might be asking "what up with this late ass review?". I know <i>The Prerequisite</i> dropped February 19th, but the reason is twofold. One, I ain't cop it til mid March (I was actually reviewing <i>Jericho Jackson</i> and didn't drop that til the 16th). And two (the reason why ALL of our reviews drop "late"), because we like to live with each project. On average I probably listen to each LP, EP, or mixtape at least a dozen times front to back (at home on laptop, in headphones at work and gym, and through car speakers). So now that we are all caught up with how we get down, on to ILL Conscious. The Baltimore native has been active in the game since his first mixtape <i>Bloody Conscious Vol. I</i> in 05. ILL had my curiosity with a few tracks that were sent to me from previous projects, but it was "The Narrative" single off of <i>The Prerequisite</i> that really caught my attention. Off the strength of one single, I was ready for the rest of the album. So how did ILL Conscious do with the remanding 9 tracks? Let's jump into it.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">All emcees should know how to curate an album. In our last podcast, the BITM squad talked about the <i>Black Panther</i> soundtrack. Kendrick Lamar is the perfect example of an emcee that knows how to piece an album together: beginning, middle, and end. And of course it all starts with the first track. The intro track is just that, the first shot you have to introduce (or reintroduce) yourself to the public. The Marshtini produced track "Capital Investments" sounds like an early Wu joint (especially the last 15 secs), with cuts from DJ Grazzhoppa. ILL hits you with an array of clever metaphors and a sophisticated flow. While the tropes of a "hood/street" track are present, ILL is able to elevate the subject matter with his approach. I said in my review of "The Narrative" track that ILL has an AZ heir about him, mostly in his cadence and a bit in his flow. But the way ILL attacks this track reminds me of a Raekwon, with his seasoned vet-like vocabulary. You are going to hear word play that you've NEVER heard before. Doing that in a track like this shows not just true talent, but knowledge of self and the culture. ILL Conscious knocked this one out the park. Enough said. Next.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I try to stay away from reviewing featured artists. If you clicked on an artist's name, I assume you are here for said artist's review. But ILL gave me no choice. More on that later. The second track "Foreign Relations" is produced by Hi Cee and features DJ Dacel (on the cuts?) and Papitas Freestyle. The jazz infused track sets the stage for ILL to hit you with conscious and braggadocio bars that solidify his place among the bonafide spitters. Next up is Papitas Freestyle. I've NEVER heard of this dude before. The Chilean emcee contributes the hook and the second verse. ALL. IN. SPANISH (and this is why I had to talk about this featured artist). Papitas Freestyle has a Joey Bada$$ flow to him that compliments the track well. Both emcees have verses that are DOPE, but I got to give ILL a tip of the hat. It's a BOLD move to have your hook and half of your track in another language. The first thing an ILL Conscious fan (the dude that put me on) said to me was, "I have NO idea what this guy was saying". As someone who understood what Papitas Freestyle was saying, I gotta say this is one of the best Spanish verses I've ever heard. And just verse-wise, both these emcees created one of the best tracks on this album.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Speaking of Joey Bada$$, I had to get into this track. "Vibe Vibrations" is produced by Wisdom Beats and samples "Summer Nights" by Lonnie Liston Smith and The Cosmic Echoes. Joey sampled this song for his intro track to <i>1999</i>, "Summer Knights". This is another jazz/blues instrumental that fits so well with the overall sound of the album. Yung Miss provides smooth vocals that accompany the mellow track. ILL Conscious is able find these pockets where he hits these melodic patterns that make your face ugly. This is going to be one of those tracks that you bump in the whip on a perfect spring day. Windows down. Bangin'. Well, that is if we ever get actual normal seasons anymore in the DMV.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I'm not going to get into "The Narrative" joint again. But trust, that is a stand out track. <a href="http://www.bestinthemix.net/2018/02/video-ill-conscious-narrative-ft-jay.html">Peep review for it here</a>, and the video below. When I link up with the BITM squad we always discuss the current state of Hip Hop. From the outside looking in, it appears that rappers today need a gimmick. You need them likes, or you need to be trending. You need to Kool-Aid your hair and teeth, tattoo dumb shit on your face, and mumble your way through a strip club beat that your IG followers can turn into memes. It's almost rare to expect a rapper born in the 90s or oughts to not be a product of this hyper social media world. But there is one segment of the Hip Hip community that still gives me hope. Whether you call them underground, independent, or local artists, it is this group that might help repopulate the emcee pool. Before Cole or Kendrick dominated the mainstream landscape, they were independent. They didn't have to go through the marketing team of these conglomerate machines to decide what their image should be. Or what they should say and how they should say it. Hip Hop weeds out the pseudo gangstas and fraudulent personas. ILL Conscious is who he says he is. How do we know this? Listen to the music. He is a clear product of the Golden Era. Specifically that mid 90s New York sound. You don't get compared to AZ, Raekwon, Pun, or L unless you show and prove (the Chef and Big L comparisons are mine, but I've seen others make the AZ and Pun one). The Golden Era had many defining traits, but one that gets overlooked was its intellectualism. These emcees were SMART. They were philosophers. Many were self taught. You can't fake that. To carry on that tradition you have to come correct all the time, or don't come at all. If you hear ILL Conscious, he sounds like he was bred in that environment. But if you listen to him, you see that connection is much deeper. Many people can mimic a cadence, but many can't structure and string words together to create that authentic track. And we ain't even talk about the instrumentals. ILL Conscious hand picked the perfect beats to create a cohesive body of work. The features also compliment his style well and add to the atmosphere created by great production. By this point in the review I try to see where this artists/project fits in the current climate. I can see ILL Conscious going the way of a Joey Bada$$. There might be a "hit" or two, but most of the music will be for the culture. True Hip Hop heads will support all his movements and ILL will continue to produce authentic timeless music. If ILL continues to pay homage to the great emcees before him, we might be looking at a gang of tracks where he actually teams up with said greats. I'll let y'all daydream what would be your perfect pairing. But til then, go COP <i>The Prerequisite</i> and support the emcee ILL Conscious.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://illconscious.com/">http://illconscious.com/</a></span></div>
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-14447888498442030112018-03-16T15:51:00.003-04:002018-03-16T16:02:54.410-04:00REVIEW: Elzhi & Khrysis - Elzhi & Khrysis Are Jericho Jackson<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Hip Hop has four main pillars: rapping, DJing, breakdancing, and graffiti art (I know there are synonyms for each pillar, but I'm going with the Zulu Nation's wording). The mainstream influence that Hip Hop has can primarily be attributed to the music pillars: the emcee and the DJ. Yes, all four pillars form like Voltron to give us the true essence of Hip Hip culture, but the global entertainment reach Hip Hop has is because of the music.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I've said on multiple occasions that there is a certain magic that a project has when it comes from one emcee and one DJ/producer. The late 80s/early 90s gave us classic duos like: Pete Rock and CL Smooth, Eric B and Rakim, Gang Starr (Guru and DJ Premier), DJ Jazzy Jeff and The Fresh Prince, and more (didn't feel like researching, we know there are more). The late 90s and oughts had a few gems as well: Reflection Eternal (Talib Kweli and Hi-Tek), Madvillain (MF DOOM and Madlib), Murs and 9th Wonder, Blu and Exile, and Run The Jewels (Killer Mike and El P) (again, we know there are more duos). I'll make one more point before this review completely gets away from me (too late?). A few years ago Royce Da 5'9" and DJ Premier formed their emcee/DJ group, PRhyme. They are actually dropping their second project today (hope to hop on that joint next). Even though it really doesn't matter, I feel there is more..commitment(?) when you name your group. So when Elzhi and Khrysis revealed that they were forming the group, Jericho Jackson, my curiosity was peaked. Actually, my expectations were SKY HIGH. My expectations were not only based on their individual pedigrees, but also the climate of recent pairings (ie, PRhyme). So how did <i>Jericho Jackson</i> fare? Let's go.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The intro track "World of Illusion" features a minimal piano melody with words from British philosopher Alan Watts. The speech he gives is a metaphor for information processing. You can lose yourself in your own thoughts. People who are overwhelmed with thoughts, are not able to live in reality. Instead, they live in a..world of illusion (well played Elzhi/Khrysis). The following track "Overthinking" takes the baton from the philosopher and into Elzhi's current state of mind. This track appears to be a therapy session (actually, a few tracks feel this way). Elzhi has had a few personal and professional trials the last couple of years. This track allows him to heal while contemplating over lessons learned. Elzhi works through his emotions in a sort of "book of rhymes" style. He deals with: politics, record contracts, family, fame, acceptance, social media, fake friends, street life, self awareness, hope, doubt, religion, love, revenge, and regret. Technically, the Detroit spitter is in top shape. His flows, delivery, cadence, subject matter and metaphors are all flawless. The track ends with Alan Watts predicting our current environment (I think this speech, and his intro speech, must be from the 50s or 60s). He states:</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>And all so called civilized peoples. Have increasingly become crazy and self-destructive. We confuse science, words, numbers, symbols, and ideas with the real world. Most of us would have rather money than tangible wealth. And a great occasion is somehow spoiled for us unless photographed. And to read about it the next day in the newspaper
Is oddly, more fun for us than the original event.</i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The aptly named final track, "Thank you", is a beautiful and complex approach to a subject that has been touched on by many artists. Elzhi's vocals and Khrysis' SOULFUL beat are enough to make this track a stand out. But the way Elzhi navigates his way through ups and downs is masterful. The balance of how his life went vs how it easily could have gone creates an intriguing duality. His destination is important, but the journey is what made him the man he is today. Elzhi acknowledges that without his family, friends, and fans none of this would be possible. Again, not a world changing discovery. But this track Elzhi and Khrysis create is a perfect bookend to an entire album that is full of depth and emotion.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Since New Year's Eve, we've been teased with the <i>Jericho Jackson</i> project. Last month we got the first single "Self Made" (which is DOPE, definitely a track that has a bit more "grime" than the rest of the album) and the follow up track "Listen". Khrysis curated the entire album with a neo soul infused canvas for Elzhi to work with. The 9th Wonder disciple has clearly elevated his beat game to another level. No club bangers. Not a problem (for me). But if you need one, then go listen to Lil...Rainbow Head? The Soul Council alum is a perfect evolution of the 9th/ATCQ/Raphael Saadiq-type sounding beats. Can't wait to see what he has cooked up for the sequel. Oh, and dude got to flex his pen game in "Talkin' Bout". But of course when it comes to lyrics, we all came for Elzhi. Since his solo debut in 08, many Hip Hops were waiting for him to take his place with the top emcees. <i>Elmatic</i> in 2011 (damn, I swear that JUST came out) added fuel to the debate. But a DELAYED album Kickstarter (with lawsuit threats from fans that pledged money) revealed that the emcee had been dealing with depression. From that darkness Elzhi was able to give us an extremely introspective album, <i>Lead Poison</i>, in 2016. Really until we heard a few months ago about the <i>Jericho Jackson</i> project, we had no idea when we'd see him again. As I stated above (somewhere up there), my expectations where high for this one. I'm a fan of all things Jamla, and Khrysis has been on a steady incline for his whole career. And I've been a fan of Elzhi since his Slum Village days. I can gladly say that these two artists did not disappoint. This album is EXACTLY what you expect and want from this duo. We've said it before, there are some DOPE ASS LYRICISTS out there. You just gotta dig for them. This album isn't going to push 21 Savage numbers (I saw his name pop up recently, that is the extent of my knowledge of dude), it ain't gonna be poppin in the clubs, and it probably won't hit the airwaves (maybe on an XM channel somewhere). But if you want those straight up BARS and BEATS, you need look no further. I hope this is the project Elzhi needed to get better, get healthy, and get back to taking his place in the upper echelon of emcees. Peep video for <i>Jericho Jackson's</i> first single below. </span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-83276347650797648272018-03-16T14:53:00.001-04:002018-03-18T22:12:42.912-04:00REVIEW: Nipsey Hussle - Victory Lap<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguOXpb1SnRyhyphenhyphengat7p3X0ye_zMs733oPF-U06mRb64rVLvpaPqWzluumyFKky4Sbz1K4AvPomR5HEeDvkuga0O5zZpNSjGSxY5JBst60Qw7uqRQQ281jzBTFC0WODs5FIxRxOJFUQc5nk/s1600/Nipsey-hussle-victory-lap+img.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguOXpb1SnRyhyphenhyphengat7p3X0ye_zMs733oPF-U06mRb64rVLvpaPqWzluumyFKky4Sbz1K4AvPomR5HEeDvkuga0O5zZpNSjGSxY5JBst60Qw7uqRQQ281jzBTFC0WODs5FIxRxOJFUQc5nk/s400/Nipsey-hussle-victory-lap+img.jpg" width="400" /></a>Replay value, something that is no longer a leading trait or stat in the music industry especially when it comes to hip-hop. What is probably the leading factor that goes into calling an album a classic project is now something that isn’t too prevalent in our culture. Reflecting back over the last calendar year of the music we’ve received from heavy hitters like Jay Z, Kendrick Lamar, Rick Ross, CyHi The Prynce, and Rapsody; they have shown us that their integrity still remains in their artistry to deliver to fans<span class="Apple-converted-space"> </span>a cohesive project that is not only sonically enjoyable but will leave you lyrically pleased. Adding to that list of artists is West Coast King Nipsey Hussle. Nipsey after formulating a brilliant album roll-out and press run has released his long-awaited album completing the mixtape series, <b><i>Victory Lap</i></b>. Seeming to resemble Dr. Dre’s <b><i>Detox</i></b>, based off of the arrival time of <b><i>Victory Lap </i></b>fans like myself were more than ecstatic to hear when Nip dropped an actual release date for this project. After all of the build up and hype we finally have the complete debut project, and weeks after its release it has the accolades to support how good this album really is.</div>
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With what seems to be a flawless into track featuring Stacy Barthe the song “Victory Lap,”<span class="Apple-converted-space"> </span>Nipsey is braggadocios from his time that he remained honorable in the streets to his legitimate success in business ventures that he’s currently acquiring more of. Segueing into the first single from the album “Rap Niggas” is a fucking west coast classic banger already. The energy that Nipsey brings forth is guaranteed to get you to spill some liquor on your shoes or get you in the middle of a mosh pit, so be safe with this one. To lead into yet another song that’s guaranteed for summer pool parties is “Last Time That I Checc’d” featuring YG. Now if you have any history about any track with a Nipsey and YG, you know that they are shooting 100% from the line with no miss in sight. From their last big hit “Fuck Donald Trump,” this is a great follow up to have you feeling yourself as if you run your city when you really don’t.<span class="Apple-converted-space"> </span></div>
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With 11 features on 16 tracks and only about 4-5 with actual verses from artists on the others, “Dedication” is lyrical sparring with none other than Kendrick Lamar as Nip’s sparring partner. This has been the theme with Nipsey for as long as I can remember that I’ve been listening to him. Discipline is something that he prides his self on having not only among his self but his team, which is how he’s come to enjoy his sacrifices now that the blueprint has come into fruition. Kendrick blesses the track telling not only part of his story that we are already familiar with but why he respects Nipsey being that they come from different gangs (Nipsey being a Crip and Kendrick a blood), yet Nipsey speaks and ACTS on building black businesses, self education, and owning our community. “Blue Laces 2” is my favorite track on the album and it’s upsetting because as amazing as this album is, I could not bring myself to hit the next button. Keeping almost the same beat from the original with some minor tweaks, this track is impeccable. This track strikes me in a realm of pain and understanding, with even a small reference to Marvel’s record breaking <b><i>Black Panther</i> </b>movie. “ In a Spook by the door this the infiltration,” refers to a book about a CIA agent who was a token black in the agency and drops out to train Chicago blacks as “freedom fighters” to become militant black citizens; sound similar to the plot of the highest grossing solo superhero movie of all time? If you think so that’s because that story is similar to Michael B. Jordan’s “Eric Kilmonger” in the film. Blue Laces 2 is something that will definitely have you wanting to sit your seat back and cruise to in the car or roll up to.<span class="Apple-converted-space"> </span></div>
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We have received classic Nipsey Hussle mixtapes before, most notably being his Marathon series or the 2013 classic <b><i>Crenshaw</i></b>, but even he has said recently he has never put this much focus and emphasis methodically into not only a project but the other aesthetics and nuances that go into creating an album. From the way the track list was built to the instrumentals sampled to the different flows he used, Nipsey is clearly stepping further into his own artistry. You would think the way the beats were chosen that this is a Rick Ross album (Ross has a great ear for beats), however that is the help of Mike & Keys, 1500 or Nothin, Diddy and more. Mike & Keys and 1500 or Nothin are of my favorite producers that work with Nipsey and their chemistry produces nothing but classics.<span class="Apple-converted-space"> </span></div>
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I am a huge fan of Nipsey so with my bias, this album is a classic and I don’t care who debates it. I can’t be by myself based off of the reception of this album and its been out for a month. The support that Nip has received from rappers, fans, bloggers, athletes has all but certified this project as something truly cohesive that can be placed with the greater projects we’ve received from other artists recently that will surely stand the test of time. As not just another rapper but a real student of the game and intellectual, I understand the moves that were made and the patience needed for Nipsey to release his debut album. As someone who prides his self on ownership of his music and publishing, to work out a partnership deal with Atlantic Records after being noted for his Independent success, as the last step before his release shows me that he is calculated and is looking to stay here for the long haul (hence the term Marathon he so frequently uses). Go get <b><i>Victory Lap</i></b> today!</div>
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Anonymoushttp://www.blogger.com/profile/06042647157478081977noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-60451551365722989232018-03-01T01:43:00.003-05:002018-03-01T14:46:43.840-05:00REVIEW: Black Panther: The Album<div class="separator" style="clear: both; text-align: center;">
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Ever since the TDE collective Black Hippy started to gain notariety after Kendrick Lamar burst onto the scene in 2012, fans have been clamoring for a project featuring all four members of the label. As years have passed and Top Dawg Entertainment grew into a juggernaut in the industry, they also acquired new members and made several alliances along the way, so an album with just Kenny, Soul, Q, and Jay Rock began making less and less sense.<br />
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Luckily, an opportunity arose when director Ryan Coogler approached Kendrick about an idea to be at the helm of the soundtrack for the movie <i>Black Panther</i>. In an interview, Coogler stated that "Kendrick's artistic themes align with those we explore in the film." So following the <i>DAMN.</i> tour, Kung Fu Kenny and his in-house production team began laying down the groundwork for what could possibly go down as one of the best movie soundtracks ever created in the form of <i>Black Panther: The Album</i>. In addition to providing the backdrop for the film itself, the soundtrack inadvertently satiates the hunger from fans that have been longing for TDE to form like Voltron and shock the world with their immense talent and perspective. This may not be a Black Hippy project per se, but this is definitely an amazing consolation.<br />
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Let me start off by saying THIS SOUNDTRACK IS FUCKING PHENOMENAL! <i>Black Panther: The Album</i> can be enjoyed whether or not you've actually seen the film, but understanding the references heard throughout will hit you much harder if you are familiar with the source material. The reason is because this album is a perfect illustration of every major event in the movie and its overall significance. In some ways, Kendrick creatively re-tells the stories of both T'Challa and Killmonger, as well as the societies each character comes from. Kendrick's verse on "All The Stars" is from the perspective of T'Challa when Killmonger came storming into the throne room making demands, while Khalid & Swae Lee sing an ode to the powerful women of Wakanda on "The Ways." The West Coast-infused "Paramedic" almost serves as Killmonger's theme song, while "Bloody Waters" and "King's Dead" are essentially the height of the conflict between both main characters, as Killmonger defeats T'Challa and assumes the throne.<br />
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Even though Kendrick isn't featured on every track, his influence is heard thematically throughout. This album features notable contributions from artists representing every facet of urban culture, and most of it works extremely well, with only a few head scratchers. Swae Lee and Future may be in a similar lane in this industry, but the gap in their creativity and ability to blend into a song are staggering. Swae Lee fits perfectly alongside Khalid on "The Ways," despite Khalid's reputation as being more of a true 'artist.' Meanwhile, Future's embarrassing attempt to flex his creative muscle on "King's Dead" is so bad that it ruins a moment that could have been special for Jay Rock, who managed to pull a whole new style out of his arsenal on this song.<br />
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"Redemption's" rhythmically African sound may come across as jarring when compared to all the other vibes that precede it, but it quickly becomes an infectious change of pace that is both unexpected and welcome. Kendrick has a way of piecing together a project to where you won't ever feel fatigued by a single style becoming redundant. One of the album's strongest tracks is "Seasons." Equal parts hood and motherland, this song exemplifies the internal struggles Killmonger faced being stripped from his roots in Wakanda and forced to grow up in a poverty-stricken environment in Oakland, California.<br />
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In true Kendrick Lamar fashion, <i>Black Panther: The Album</i> concludes on a high note with The Weeknd on the futuristic "Pray For Me." Like most of the album, it's just great hearing songs that both fit the movie, and are simply enjoyable to listen to from a musical standpoint. This epic conclusion caps off a 14-track thrill ride that solidifies just how dominant TDE truly is. These guys are checking off a lot of boxes this decade, and building a truly legendary resume to boot. With so many artists from within TDE and outside the camp, this soundtrack often feels like Top Dawg Entertainment's compilation album, similar to <i>The Dynasty</i>. What a time to be alive! Kendrick is becoming a renaissance man of sorts, by curating one of the greatest soundtracks of all time up there with the likes of <i>Above the Rim</i>, <i>Juice</i>, <i>Superfly</i> and <i>Purple Rain</i>. Top Dawg may have been the coach, Kendrick may have been the quarterback, but the entire squad gets the W for this soundtrack.<br />
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-72295668765019843502018-02-23T17:11:00.001-05:002018-02-23T17:18:28.915-05:00REVIEW: Skyzoo - In Celebration of Us<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">3 weeks ago today I woke up to my pre-order of Skyzoo's fourth (unless <i>The Easy Truth</i> counts, then it's his fifth) studio album, <i>In Celebration of Us</i>. My pre-order criteria is..let's say extensive. But Skyzoo DEF makes that cut. I put Sky in an elite group of "new" emcees (he's been around since the early oughts) that I feel hit a sweet spot (pause?). His beat selection: DOPE. Lyrics: top shelf. But those are both Hip Hop abilities that are a bit "easier" to have in your skill set. What Skyzoo adds to his repertoire is his superb subject matter and the ability to successfully create thematic projects. If your bars are insane, but you ain't saying shit, then you won't be around for long. At least I hope that's still the rule. Skyzoo remains relevant because he consistently pays attention to his subject matter. And to take it a step further, Sky is able to parlay those concepts into entire albums. To come up with an idea in your head and have it translate well to the masses is extremely difficult. When an album flows in a linear structure (with a beginning, middle, and end), it just gives the listener a totally different experience. I won't say better or worst, but it is something I can appreciate. <i>In Celebration of Us</i> is thematic, but I don't want you to think it plays as: chapter 1, chapter 2, etc. There is a theme that plays throughout, and you really notice this when you play the first and last track. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The first track, "Everybody's Fine", starts off with a skit. ONLY negative critique: Sky should have let the skit be it's own track. It's a dope skit. Actually, it's very important to the album as a whole. But when you are reviewing the album (I also listen to albums on repeat even if I ain't reviewing them) and have to hear it 50+ times, you wish you could get right to the song. Like Netflix, I want to skip the intro credits. That's it. Back to the review. The skit is a conversation between two men in early 1982. You find out that one man is Greg, Skyzoo's father. Skyzoo's real name is Greg Skyler Taylor. Papa Greg is telling his friend (Tray Duce?) that he wants to leave the street game. Greg gets nothing but love and support from his friend. The friend tells Greg that he'll will be there for whatever he needs. After the skit we get into the actual track. Skyzoo hits us with one of his most beautifully complex verses I've ever heard. His signature cool flow rides the predominantly drum heavy instrumental. Where Skyzoo elevates his lyrical style is with the repetition of his rhyming patterns. Sky paints juxtaposing images that compliment each other like: </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>Or you in a hall, up on the wall/ </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>With department of corrections letters hovered up over where your name is/ </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>Or you by the door, cap and gown to the floor/ </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>8 years of proof hovered up over where your name sits </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Of course we still get all those internal rhymes and double entendres that are common from a Skyzoo project. But the effortless way he connects contrasting imagery is amazing. In two bars with similar poetic structures, we see two different people: one is a person getting their mugshot before they are incarcerated, and the other is a graduate (I assume with a masters since its 8 years) looking at their diploma in their home. The single verse actually plays twice. After a few DJ scratches, the beat looses the drums and Skyzoo speaks and comments that we are always told that "everybody's fine". The same verse plays again on the stripped down drum-less instrumental. I'm dissecting this part, but it might take me a while to truly appreciate the single track in its entirety. If you're a Hip Hop nerd like me, you'll loose track of time breaking this joint down. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The final track, "Honor Amongst Thieves", follows a more typical Hip Hop song structure. Instead of single verse/no hook/repeat same verse (like "Everybody's Fine), we get the verse/hook/verse layout. The song ends with a skit (more like a recording of Skyzoo telling a story about his family at a listening party, I assume). By the way, this is another completely acceptable option. Instead of having a skit on its own track, it can start at the end of the song. The first part of the song repeats the question "do you believe" and provides different scenarios. The second verse is an autobiography that focuses on Skyzoo and his father. The speech that Sky gives after the song basically mirrors the story he tells. His youth was a <i>Boyz n the Hood</i> parallel, where he lived with his mother until he reached adolescence. After that he moved in with his father to learn "how to be a man". This song brings the album full circle. The first thing you hear at the start of the album is a skit reenacting the moment Skyzoo's father decided to leave the street once he found out he was having a son. The album ends with Sky speaking in present day, telling a story about being raised by his mother and father. Even though they were different households, his parents made sure to give young Sky the upbringing that was rare in his environment. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">#Blackexcellence. This hashtag has been at its peak this month. It is not by accident that Skyzoo decided to drop <i>In Celebration of Us</i> during Black History month. About the album, Skyzoo comments, "Conceptually, this is Ta-nehisi Coates meets <i>Chappelle’s Show</i>, <i>The Autobiography of Malcolm X</i> meets <i>Black-ish</i>, the case of Sandra Bland meets the birth of Air Jordans". As I mentioned above, Skyzoo keeps his subject matter relevant. He talks about police brutality, the street game, appropriation, love, family, relationships, gentrification, politics, black on black violence, death and religion. This featureless project (from an emcee standpoint) is probably one of his most complex works in his ever expanding catalog. Skyzoo once again comes correct. His lyrical ability is one that garners a certain amount of expectation. We EXPECT top notch production and bars. The Brooklyn emcee is product of NY Hip Hop but evolved into the next iteration of what you think of when you think "NY emcee". Lyrics are at the forefront. And the instrumentals harken back to the Golden Era NY sound. At this point it is hard to image Skyzoo missing any of his shots. In my humble opinion, <i>In Celebration of Us</i> needs to be in the mix when talking about #blackexcellence. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep the whole album below. </span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-78922095627596126762018-02-13T16:35:00.002-05:002018-02-13T16:38:00.139-05:00VIDEO: PRhyme - Era ft. Dave East<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">About a week ago we got the visuals to the first single from <i>PRhyme 2</i>, "Era". It's been a little over 3 years since we heard from the dynamic duo. But if you've been following Royce or Preem, you've been fiending for this project since the sequel was first teased about 2 years ago. The duo tapped Harlem emcee Dave East to split the lyrical duties with Nickel. Dave East is on a SERIOUS upswing in his career. East is riding the high of his own sequel project <i>P2</i> (<i>Paranoia 2</i>) that dropped about a month ago. East switches up his flow to ride the stripped down Preemo beat, but remains true with his signature raw style.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">But then Royce Da FUCKING 5'9" drops his BARS. Coming second to Nickel (especially in his own joint) is nothing to be ashamed about. East goes HARD. But Nickel goes INSANE. The way he effortlessly switches up his flow is classic Royce. And his metaphors are out of this world. Again, classic Royce. I love when two lyrical emcees team up to push each other to elevate their game. I have no doubt that Royce went as hard as he did because he knew the young East was gonna bring that fuego. As I mentioned, Dave East is aware that he needs to strike when the iron is hot. And that iron don't get hotter than a Preemo beat on a PRhyme track.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The video is more artistic than you would expect. A large dark room is filled with 4 (5?) rows of people from all walks of life. You get lines of people that are old/young, different races and from various occupations. Within this very organized scene you see Dave East, Royce and DJ Premier. In addition to this stage you two very juxtaposed scenes: you get flashes of a police officer (looks like SWAT, or something tactical) beating a black male and another scene of a black male beating up a person wearing the KKK garb. If the strength of this single (and the thoughtful nature of the video) is a glimpse as to what Preemo and Nickel are cooking up, we got another top shelf project next month.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep "Era" video below.</span><br />
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-32264862201257740392018-02-07T19:37:00.000-05:002018-02-07T19:37:08.313-05:00BITM Podcast Ep. 4 - 2017 Wrap - Up<div class="separator" style="clear: both; text-align: center;">
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The BITM crew is back with our first podcast episode of 2018! On this episode, we finish discussing the last few albums of 2016, and jump into a few notable 2017 albums as well. TwonJonson and The Niftian trade opinionated blows as stayfly remains neutral and plays his role as the voice of reason. Just to name a few artists we touch on in this episode, we discuss Ab-Soul, Logic, ATCQ, De La Soul, Eminem, and Kendrick Lamar.</div>
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TwonJonsonhttp://www.blogger.com/profile/03382861760439659194noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-81451996828688588542018-02-06T11:08:00.000-05:002018-02-06T12:43:22.261-05:00VIDEO: ILL Conscious - The Narrative ft Jay Royale<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">One of my boys sent me this single a few weeks ago. Had it on deck for a review, but I slept on it. Not really slept, more like knocking out a rack of album reviews and getting ready for our latest podcast. But I was hit with the follow up video to "The Narrative" single a few days ago. I've been aware of the existence of ILL Conscious for a few, but for one reason or another he fell under my radar. Which is crazy because the few tracks I've heard from him have been dope. With the blog, IG (I'm the lead for the squad) and the podcast, I'm even more immersed in the culture than ever. Sometimes there just ain't enough hours in the day to catch everything.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ILL Conscious is a Baltimore emcee who ain't even 30 yet (well 29, so comment still true). In the few tracks I've heard before "The Narrative", I would compare his rhyme scheme to a young AZ. But after hearing his latest joint, I can definitely see a touch of Big L in his flow. Everyone calm down. I ain't saying this dude is the second coming of a AZ/Big L hybrid. But if you know me, you know I always differentiate between the rappers from the emcees (I'm not gonna break that all the way down now, maybe for a future podcast). Emcees are students of the culture and have superior lyrical abilities (among other things). And for me, ILL checks all them boxes. Now onto the track.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The single benefits from a Golden Era influenced instrumental created by Venice Beach producer Eyedee. Real talk, this joint sounds like it jumped straight out of <i>Doe or Die</i>. The intro alone sets the mood with some soulful vocals (I STILL can't find out what sample it's from). Once the beats drops, ILL rides the track with an insanely smooth flow. If you need DEM BARS in your life, this joint will provide you with that lyrical sustenance. I can bring up more emcee references to compare ILL's style, but I won't. Just know this young dude is a prefect blend of past and present lyricists (in terms of influences, of course this dude is his own man). Enter Jay Royale, another Bmore spitter cut from the same cloth. The complimentary pairing of these emcees seems effortless. It kind of makes you wish for a Jada/Styles back and forth. The pair give you a glimpse into that Bmore life with grimey bars and metaphors. The track ends with DJ TMB chopping up a few vocals from Mobb Deep, Jay Z, and KRS ONE (I might have missed one or two others), providing a perfect bookend to the track.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The video for "The Narrative" fits naturally with the grimey bars and instrumental. The duo jump from a corner store, a residential and the metro. Besides the j.o.b. in Maryland, I ain't that acquainted with that many Bmore areas. Except for the metro of course. That's a DMV staple. But I'm sure there are a few landmarks that native Baltimoreans(?) will recognize. There is a "low fi" quality to the video that adds to the authenticity of the overall product. So whether you bumping the track in the whip or you watching the video at work, you will not be disappointed.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Final thought: this joint is a street BANGER. "The Narrative" is the debut single off of ILL Conscious' upcoming 2nd album, <i>The Prerequisite</i>. Keep your ears to the streets for that to drop (think I saw somewhere it was February 19th). And run through his first LP, <i>The Essence</i>, and his mixtape catalog. Bmore stand up.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://illconscious.com/">http://illconscious.com/</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.facebook.com/illconsciousdagod">https://www.facebook.com/illconsciousdagod</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://twitter.com/ill_Conscious">https://twitter.com/ill_Conscious</a></span></div>
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<br />stayflyhttp://www.blogger.com/profile/07219451527860731454noreply@blogger.com0tag:blogger.com,1999:blog-2994290786305391642.post-86268181162422522462018-01-09T15:36:00.000-05:002018-01-09T15:40:52.213-05:00REVIEW: Statik Selektah - 8<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On December 8th, we got Statik Selektah's 8th studio album, <i>8</i>. Obviously continuing with the number wordplay he started with his previous album, <i>Lucky Number 7</i>. Now that the holiday rush is finally dying down and I got over my review fatigue (I am not a machine), I am able to get back to form to start the year off right. Mr. Selektah has been climbing up my "top DJ/producer" list the past decade or so. His latest offering is another eclectic mix of rappers and emcees paired with his ever evolving sound. But let's just jump into it. Stop wasting time in 2018.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The soulful boom bap track "But You Don't Hear Me Tho" is an instant classic. Statik taps fellow ROC NATION label mates the muthafuckin' Lox to take on the lyrical duties. Statik said, “This is classic hip hop music, for lovers of hip hop music. No gimmicks.” The legendary trio ride the smooth instrumental like the vets they are. Each emcee (Sheek Louch, Styles P and Jadakiss) gives us nostalgic bars and take trips down their respective memory lanes. Not only do they reminisce about their personal upbringing, but they also recall what Hip Hop meant to them in it's early stages. Statik flexes his cutting skills and drops scratches throughout the track. You can't get a more polished joint than this one.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Another hit (hit for me, not radio hit) is the track "Nobody Move" with Raekwon and Royce Da 5'9". The grimey track is LACED with crazy hard (pause) bars and metaphors from these two lyrical titans. Raekwon hits us with raw <i>Purple Tape</i> type lyrics that prove that this living legend has a hold of the fountain of youth. Royce makes Detroit proud with his top shelf metaphors and wordplay. Both emcees gives us different points of view but find common ground with a hunger that was essential in the Golden Era of Hip Hop.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Statik has been averaging about 18 tracks per solo albums (<i>8</i> has 18). Plus his 17 collab albums, a pair of EPs, and that's not even getting into his mixtape arsenal and production credits. All that to say this: the man has been HUSTLIN' and has made a name for himself in the Hip Hop history book. That name allows him to comprise the CRAZY features found on <i>8</i>: 2 Chainz, Wiz Khalifa, Run The Jewels, Action Bronson, Wale, G-Easy, Joey Bada$$, The Lox, Termanology, Conway, Westside Gunn, Crimeapple, Millyz, Nick Grant, Avenue, Chris Rivers, Joyner Lucas, Tek, Wais P, Sean Price, Cousin Stizz, Curren$y, PNB Rock, Lil Fame, Royce Da 5'9", Raekwon, B-Real, Everlast, No Malice, Prodigy, Juelz Santana, and Plays. As always you have to respect the fact that he can get this gumbo to talent. And the emcee pairings on single tracks is another skill altogether. Tracks that pair Raekwon and Royce, or G-Easy and Joey Bada$$, or Tek, Wais P and Sean Price are a true Hip Hop heads wet dream (pause #2 of 2018). But in comparison to his previous projects (<i>Lucky Number 7</i>, <i>What Goes Around</i>, and my personal favorite <i><a href="http://www.bestinthemix.net/2013/06/review-statik-selektah-extended-play.html">Extended Play</a></i>) this one feels a hair disjointed. It's a catch 22. With such an array of options, this album is sure to please the masses. But it might not hold an individuals interest throughout. By no means is this album a flop. If you love Hip Hop, you'll enjoy this album. Point blank. If you can't find a track you love, rethink your Hip Hop head status. You know this is special project if he was able to get some Prodigy verses on an Alchemist assisted track. Besides Alchemist (or Havoc), you ain't gonna see P verses out there like that. Either way you cut it, Statik sent Hip Hop out the right way in 2017.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peep videos and album below.</span><br />
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